Part 1 presented internalizing “layam” or musical time as the practice goal for working with a metronome. In the course of teaching vina, I realized that practice with a metronome already requires a sense of time and if this has not been nurtured initially, it can lead to an aversion to practicing with one to gain mastery over time and an unhealthy reliance on it, even if warned as I did with Part 1.
Internalizing the flow of musical time, known as “layam”, is an essential aspect of the training of a student of Carnatic music. Though the adage “sruti mata, laya pitah” (“pitch is the mother and time is the father”) is oft repeated, what we find in practice is that a reference for the sruti (tonic) is recommended for and always used by even beginner students, but a comparable reference for time in the form of a metronome is almost never seen.
Roman text with a few choice diacritics are a common need when writing about Indian classical music. Creating unicode text with diacritics that can be ported between applications is in general a pain. So, I made a small in-browser app that serves as a scratch pad for common diacritics.
hidden and explicit uses of eval for security and clarity reasons. Now, I find
compiler wouldn’t be possible without
eval (directly or indirectly). So, in
this post, I wish to explore what appears interesting about
eval that is
relevant to building such DSLs.